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I have to say for a cinema camera the still I managed to pull out of it is pretty incredible perfect for thumbnail like this

I may be going full retard on F1.2 lenses. The Pentax has been my workhorse-fifty for the past few months, it's served me well, but it has a few glaring issues, worst of which is the heavy green/red CA on high contrast areas. So, time for an upgrade. The Revuenon seems to do the trick, haven't seen any CA from my first tests with the UM4,6K and the bokeh is gorgeous. Seems a little sharper than the Pentax as well. Going to bring it along for a commercial shoot this weekend and see how it holds up.

Here's my idea for a free perr-to-peer colour grading course for all of us. We have a bunch of people with skills here, so I imagine we can learn a lot from each other. Idea: Someone films one or two short clips and uploads the files SOOC People have a go at grading them and upload results We comment on what we like about people's work (someone might be good at tone, others at colour, others at something else) The people who did the grading share what they did so the rest of us can learn from it Repeat I'm happy to record some nice clips to get it started. It would need people to actively participate though. If only a couple of people actually grade anything then it won't work because they won't have other work to learn anything from. Who would be interested in actively participating by grading and sharing their results?

Because a lot of people still don’t know how to color video correctly. They slap on some adjustments to one frame of the shot and then move on to the next. I see it all the time. Working with the stills is easier as you only have that one frame and then, working with say ACR, makes it, again, so much easier.

Yeah I'm continually impressed by just how nice stills you can get out of the P4K. I was visiting my parents and filmed their kitten a bit - she's more agile than mercury so trying to take actually catch her in focus for a photograph is kinda impossible. Especially if you're dicking around with a 1.2. Much easier to pull out a still from a video clip.

Shot this video using GHaV3 Lut on GH5s. Followed the guides in the documentations, just drop the LUT in the timeline and tweak the mid-tones, shadow and highlights as suggested. I'm loving the colors!

Okay so I have a buyer for my kidney. Now when is the lens coming out?

Gotta watch that soon. I am really thinking about doing something B&W, would be really freeing. I am color blind so B&W sounds very appealing.

I've got the eos m50 which has slightly sharper hd than the usual Canon dslr mush but still looks very soft when I cut with the c100, and the limited dr and lack of c-log or wdr, zebras and waveform is frustrating. Would be happy with an updated version of the m50 - bit sharper and with c-log, am ok with crop camera for stills

Re: NASA.. Eye Piece: How I Trained Astronauts to Shoot the Stunning 4K Footage in A Beautiful Planet from Space

I still got my original Pocket, and still love it for what it is. Not to go OT, but I may plan on getting the fujifilm x-t3 for the S35 vid feel, and use my OG as a B-cam or something for street shots or narrative work when the time comes. I been hoping for something big w/ P4K, but I dunno. I'm still keeping my trusted baby with me.

f0 or it's trash mate.

I've just shot part one of this lens comparison which is the ~70-80mm equivalent lenses for MFT. https://app.sugarsync.com/iris/wf/D8480669_08693060_6019565 Notes: It's a mixture of cheap/expensive and vintage/modern lenses, and my goal was to see how these lenses compared aesthetically and to choose which to keep All shots were taken with my GH5 which has a 2x crop compared to FF, so your FOV may vary, and remember that the edges distort more than the centre part which is what we're looking at This isn't designed to tell you how good each lens is, but more how good they are compared to each other - google has many great examples from each of these lenses All shots taken in RAW and converted to JPG but with no other processing so this is almost SOOC I tried to match FOV for lenses with different focal lengths, but it's an imperfect test I started with each lens wide open and then stopped-down, some lenses have more photos because they have half-stop clicks, some have full-stops, some are click-less (in which case I did full-stops) but they're not exact so some exposure differences are in there, I also noticed that exposures were often off so I'm not confident that all the clicks were accurate on all the lenses (some are vintage after all) The electronic shutter only goes up to 1s exposures, so some of the lenses didn't get tested at their smallest apertures, but diffraction just kicks in so I don't feel like we're missing much Apart from adjusting aperture (and shutter speed to compensate) everything else was manual, ISO 100, and identical WB and lighting, so colour differences are the lenses I focused each lens on the marks on the little white card in the centre and normally stopped the lens down a stop or so to help with manual focus, I've heard some lenses change focus as you adjust the aperture but I didn't allow for that so the focus might shift a little perhaps Unless noted the lenses were used without a speed booster, and the SB I used with the two Helios lenses was a cheap Chinese one from ebay. I also shot the Helios lenses without a SB so you can compare and see if the SB is good or not. My next step is to test the 135-200mm lenses (270-400mm equivalents) which I can't test with the current setup because my room isn't long enough. I'll add these to this same thread when they're ready. After that I'll narrow the field down a bit and go shoot some real-world video to see how they go. Happy to hear impressions about what you see, what you like and what you don't.

as Turboguard said I'm still struggled with colour a whole video correctly. Before this camera my workflow is pretty much slap on a decent lut => tweaked a few thing and deliver. My goal this year is to try to up my colour skill. This is a video that I did while strolling the street of Melbourne. The sound is actually the on board mic since I din't expect such a performance

You've just made a great point with this B&W version of your Poster, without the distraction of the colour your eyes are drawn to the guy & they stay with him. In the colour version your eyes wonder around the frame & his silhouette gets lost in the sky. Nice shot, nice lens - keeping it on topic!

Cool idea, I'll play. I just did a color blindness test with my friend the other day. There was a chart with 4 different colors and I only saw two. My grading results should be interesting LOL

Good idea! The Alexa plus is going for $10,000 on ebay, a steal

I'm taking notes from this thread ?

I love B&W! I could make every film in B&W, without any “reason” to do it but for this film I want the cold desaturated blues and tans of a seaside town in winter. I am also prepping for my next short that I am pretty certain will be in B&W. But to be honest, all of my “grades” are just me practicing and I won’t make any final decision until I lock the cut so in the end, B&W could be a better fit for the film. We’ll see. It definitely adds a certain level of melancholy to my shots... so it could be perfect in the end. And to not have to worry about color is definitely a bonus. Here’s a quick B&W conversion of my poster mock-up. Obviously, I still don’t like the font. And again to keep the discussion relevant to Lenses, this was shot with the Canon 28mm 1.8...

If it has Tomioka on there, as well as Chinon etc. its the same lens - Tomioka made them & they were sold/rebranded (55mm f1.4 & F1.2). If there's no Tomioka on it, it might not be the real deal. @mercer Make it in B&W - so under rated these days (just think/watch Ida & Cold War). I shot something a while ago, in colour & have decided to go B&W for the edit - also saves a lot of time with CC!

Beam me up Scottie

I would assume you are a Treky then? ?

Hi end lenses are about NOT having character, which in fact are defaults.

If been using it with a 7'' Lilliyput 667GL that displays up to full HD. You can get used for about 30€. Works perfect even when you are shooting 4k, but as hugo_lennart pointed out, you lose some features present on the camera's lcd, such as focus highlightning and overexposure zebras.

Buy an Arri ?

NASA uses Nikon. I think since the F3. I have seen footage from the space station with D3 and D4. They just bought a ton of Nikon D5. https://petapixel.com/2017/08/25/nasa-just-ordered-53-nikon-d5-dslrs/ Also, food for thought, why would NASA use the lower resolution and heavier D5 when the D850 has such amazing specs? Each gram brought is pricey on a space ship. Reliability, robustness and handling.

Like I said. If you don't know how to properly expose in those situations without resorting to bracketing or flash then I'm sorry, a new camera isn't going to help you. You need to practice instead of buying stuff.

It's literally impossible for us to know what sensor is in this thing. IMX410, Samsung IsoCell, TowerJazz? How many times do we always hear "No, its not a Sony sensor" only to find out that is IS certainly a Sony sensor 6 months later? Panasonic NAB booth...."No!...the GH5 is absolutely NOT a Sony sensor, its a Panasonic chip"...TechInsights then blows that out of the water and says "No Panisonic, our labs and x-ray machines identify it as a Sony IM272" Next year same thing. "No Panasonic, the GH5-S is a Sony IMX299" Same thing with the Nikon D850 and now Z6 and BlackMagic pocket 4k....more and more Sony sensors. For some reason, every camera company is embarassed to say that Sony pattens are all over their image sensor.... the most important part of every camera. Its no use lying about it anymore....Tech Insights will expose you eventually.

Well, it’s like zoom lenses... you can stand in one spot and zoom in and out but to get good separation, you still need to use your feet. Eventually, you can quickly see how your subject reacts to the foreground and background along with whatever composition you are going for... it kinda snaps into place. I’m sure more seasoned shooters than myself can figure it out without waltzing around the set. Also, there is something to be said about using only one lens. My next film will be shot with one lens and it will probably be either a 28mm, 35mm or 50mm. I think it’s Polanski who believes that a scene should be shot with only one focal length otherwise the perspective will be too askewed and it will be harder for the audience to be pulled into the scene.

Excuse me because I think in terms of FF now but an 85mm is slowly becoming one of my favorite lenses. It’s really cool how you can get depth in the frame by having your subject between the camera and infinity. It’s a really cool effect. And the way it slightly compresses the background without feeling surreal. I guess that’s why I used to like 50mm lenses on aps-c but it wasn’t exactly the same. That’s supposed to be an incredible lens. You may actually like the Tokina 28-70mm Angènieux lens. It just oozes “cinematic...” to use a bad word. Lol.

Making me miss jonpais I wouldn't mind seeing a comparison video.

Yeah the still of seagulls is wonderful! Got a few shots with my Fuji 23mm f2 and Minolta 135mm 2.8 The 2.8 is on the soft side wide open, looks pretty nice at f4 tho. Its not a bad lens but I am not really a fan of the 135mm focal length at least no on crop cameras. Gives a nice reach for wedding tho, probably wouldn't have it otherwise. 4th pic is the 128. The 23mm F2 reminds me how nice it is to have AF sometimes. Used the standard fuji color profile and auto WB

I will try answer you both. I think that to make it realistic it all came down to "order of operation". If you add a diffusion fx in post, make it to be in the very first step of the chain, or at least after the WB/exposure corrections. The grading, look and fxs have to come after that. raw footage ▶️ Diffusion ▶️ corrections ▶️ secondary corrections ▶️ grading/look/ mastering or raw footage ▶️ corrections ▶️ secondary corrections ▶️ Diffusion ▶️grading/look/ mastering Tiffen has it's Dfx plugins witch are really nice, but i also use the Red Giant Looks diffusion, those look great also. Oh! and make sure you are working on 32bit color space. Thanks! Yes. I use the Viltrox EF-m2 its way cheaper. Also, it's a tiny bit softer than the Metabones, but for my taste it helps to reduce the super sharpness of Panasonic cameras.

I forgot to order the Tilta T5 holder but my 8sinn works just as good for now. B11DBD7F-9FE7-4E51-87D4-7283F5B0CB7A.MOV

FWIW i've done work on most platforms including big screen projects. The digital content company I'm invested in uses mostly Sony (FS7) gear these days. We rent whatever fits the budget/project. I'm not brand agnostic. That said for personal ownership, Canon does make most sense for me currently: on an ecosystem level they offer DSLR/MILC/Cine bodies, and a vast range of still/cine lenses usable across them. I wish Fuji/Nikon could do the same, maybe I would switch back to them. DPAF is also the only AF i can trust as a single operator, it's kind of a big deal to me and for sure what locked me in their system for video (most cine cams have garbage AF). I could go on about the other subjective reasons why Canon appeals to me but you've probably already heard them all! That being said my choice of gear and "defense" of it on these forums doesn't imply Canon is the perfect company or is beyond criticism. But I do find the vehement online bashing towards them isn't always justified and doesn't really reflect itself so much in the real world, these academy award winners being the case in point, without glorifying that too much or anything..

With regard to VR, I've mentioned it before but if you ever get the chance to go to a 'VR Cinema' (just a big room with lots of swivel chairs so you can move around the image without moving) then it is really quite interesting. It lends itself to short 15-20 minute documentary pieces and the ones I've seen were a far more visceral experience than if they were shot flat. Its strange because although its a solo experience in one way its also shared because there are lots of you in there so when you take the headset off it sparks more post viewing discussion than a normal film as you have all experienced subtly or often dramatically different versions of it depending on how you were orienting yourself and how active you were. Plus, no one can be stuffing their faces while they've got the headset on or talk to anyone so it removes the annoying pricks factor out of viewing stuff in a cinema as well I think it actually lends itself very well to vlogging (not just for the overcapture/post shot framing aspect) but people really need to de-gimmick it to get it there.

Just picked up a Fiilex P360. About 200W output, good cri. Great reviews over the years and BH has them for like $350US right now: https://www.bhphotovideo.com/c/product/1021433-REG/fiilex_flxp360_p360_90w_led_light.html

Yes, I use it as my main video camera at work. It's perfect for it. Have shown it in huge projections intercut with the FS7. Only visible difference is the Sony colors. I haven't shot any casual video like the NX1 stuff but probably will shoot something for the speedbooster review I'm working on. I can PM you some video examples I've done tomorrow. So far the DPAF has worked with all my EF glass including those two. I've only used AF on one project so far, just for fun. But I might have a project with gimbal shots in the pipe.

It makes more difference if you have a lot of motion and/or a lot of detail in the footage. I never want to see a compression artifact if I can help it. That said, I’ve had really good results with 200 Mb/s, too. For me, though, the revolution has really been the 10-bit color.

The Godox SL60 is a great light if you can put up with the fan noise

This is one of the reasons why the GH5 is so great. You can set it to 10 fps and it will also remove the audio automatically so that you don't have to do it in post. Truly cinematic results

Hello! I have new stills from a recent shot I was DPing. It's another theme, Kinda of game of thrones thing ?. I think this is a good point of reference to see how color look in this type of forest/swamp with those costumes and production design. Here i used some old vintage Takumar lenses because of the organic look they have, i think they help to sell the fantasy theme. I use the same procedure I always do, and my style of grade using GHa Daylight to LogC. And diffusion LOT of diffusion!

Speaking of, I just picked up a GH5S and I'm glad to hear it has an OLPF. I took it out over the weekend with my anamorphic setup, here's a couple of stills (Alex I think you've seen these on Facebook with a slightly different grade, but these here are straight GHa).

Sounds like they're in full on troll / click bait / Canon shrill mode. Well as one of the youtube commentators said.... "They have already build a 500$ mirrorless full frame camera. And then they overpriced it to 1300$, because that's what they do."

Does anyone else seem to remember that this question has popped up on here previously at some point? As far as I recall, the general consensus was that you need to go into the Settings menu of the camera and make sure "Motion Cadence Colour Science Mojo" is set to ON. Have a go with the Search option just to make sure I've remembered correctly though.

Here is the completed User Guide. So you know its very, very imminent now EDIT >> REPLACED WITH NOT COMPRESSED TO DEATH VERSION User Guide For 3C v1.1 by CDA-TEK Ltd .pdf

Yes, it works but the nx1 looses the abiliti to focus peak zebras

hello everyone - i would like to share some informations with you: i´ve got an isco pre36 lens. and i always had problems with these "undefined" flairs in case of straight spotlight into the lens. the isco is based on a 35 mm nikon lens (aps-c sensor). i found a way to eleminate theses "false flairs", like hans punk described it: i cut out masks with differnt innercircle sizes: from 17-30 mm (see photo) and found out that 21mm inner circle diametre is the perfect compromise between getting rid of the problem and not loosing to much light on the sensor. here is a little trick: i found out that the old arriflex-lenscap from the bajonett mount (backside of the lens) fits perfectly on the pre 36. i screwed a hole with a diametre of 21 mm in ....here is the result: